A fantastic exhibition by the Grosvenor Gallery, focusing on three key South African artists, was temporarily at the South African High Commission. But you'll never get to see it...

An exhibition on temporary display at the SA High Commission in London was a simple arrangement of work by Gerard Sekoto, Sydney Kumalo and Dumile Feni, three of South Africa’s most famous artists, which tells a powerful story of their histories.

This was only for the lucky few who knew about it, however.

For attendees there was also a short tour describing the history of the architecture and permanent art collection at South Africa House. This includes a multitude of JH Pierneef’s celebrated landscapes, in their glowing sunlit glory. The building itself melds an architectural history of grand classical designs in imported marble and colonial Dutch influences, with nods to South Africa in the form of springboks and banana leaves woven into the pillars.

The three artists on display have a shared history of exile, although this is not necessarily evident in their images, which were most often studies of people and landscapes. The exhibition’s small collection are rough sketches and simple paintings, nonetheless utterly distinctive to each of the artists’ styles.

What is brought to the fore is a mixture of frank expression of emotion, and the African influences and styles they grew up with. Sekoto in particular, having moved to Paris, created increasingly politicised works in his later years. His ‘Homage to Steve Biko’ creates a dramatic answer to Pierneef’s warm landscapes. Although he often painted French street scenes to earn a living, it was his simple depiction of South African village life that remained truly popular.

Kumalo was encouraged early on by Cecil Skotnes. Creating bronzes in a ‘linear’ style that reflects the traditions of African sculpture, he became popular worldwide. He remained in South Africa, becoming one of the first of his generation to establish himself as a black professional artist.

Feni had exhibited successfully in South Africa, but went on self-imposed exile due to the Pass Laws in the ’60s. His detailed studies of people reveal an excellent draughtsman with a keen sense of the human condition. He cast light on black interpretation of the Western artistic world, for instance his piece at SA House entitled ‘Theme for Black Modigliani’, drawn simply on cheap paper in ballpoint pen.

The tour felt a little rushed, although all the participants were clearly eager to explore the building. There was too much to absorb, with the combined punch of the rich and fantastic architecture, the many histories and themes, and the stories of the three men the exhibition was about. The tour would have done best to focus only on the exhibition, rather than trying to take us through both the combined history of the building, its architecture, art collection and the temporary exhibits, which were given the least attention.

But sadder than that is the fact that this tour was only available once, and the exhibition itself was open to invitees only Freedom Day.

The history alone merits that the public should be able to visit it, aside from the artists’ international recognition, and the gorgeous setting of the building itself. It’s a crime that all this rich culture is hidden away: isn’t it about time South Africa stopped being ashamed?